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Opening bars of Nocturne No. 19 in E minor. The Nocturne in E minor, Op. posth. 72 No. 1, WN 23, was composed by Frédéric Chopin for solo piano in 1826. [1] It was Chopin's first composed nocturne, although it was the nineteenth to be published, in 1855, along with two other early works: a funeral march in C minor and three écossaises.
Chopin's nocturnes carry many similarities with those of Field while at the same time retaining a distinct, unique sound of their own. One aspect of the nocturne that Chopin continued from Field is the use of a song-like melody in the right hand. This is one of the most if not the most important features to the nocturne as a whole.
The first nocturnes to be written under the specific title were by the Irish composer John Field, [3] generally viewed as the father of the Romantic nocturne that characteristically features a cantabile melody over an arpeggiated, even guitar-like accompaniment. However, the most famous exponent of the form was Frédéric Chopin, who wrote 21 ...
The Nocturnes, Op. 9 are a set of three nocturnes for solo piano written by Frédéric Chopin between 1831 and 1832, published in 1832, and dedicated to Madame Marie Pleyel. These were Chopin's first published set of nocturnes. The second nocturne of the work is often regarded as Chopin's most famous piece. [1] [2]
Nocturne in E minor, Op. posth. 72 (Chopin) Nocturne in C minor, Op. posth. (Chopin) Nocturne in C-sharp minor, Op. posth. (Chopin) This page was last edited on 1 ...
Nicknames have been given to most of Chopin's Études over time, but Chopin himself never used nicknames for these pieces, nor did he name them. Op. 10, 12 Études: Étude in C major (1830) Étude in A minor (1830) Étude in E major (1832) Étude in C ♯ minor (1832) Étude in G ♭ major (1830) Étude in E ♭ minor (1830) Étude in C major ...
Nocturne in E-flat major, Op. 55, No. 2. The second nocturne in E ♭ major features a 12 8 time signature, triplet quavers in the bass, and a lento sostenuto tempo marking. The left-hand features sweeping legato arpeggios from the bass to the tenor, while the right-hand often plays a contrapuntal duet and a soaring single melody.
This listing uses the traditional opus numbers where they apply; other works are identified by numbers from the catalogues of Maurice J. E. Brown (B), Krystyna Kobylańska (KK), Józef Michał Chomiński (A, C, D, E, P, S), and the Chopin National Edition (WN). The last opus number Chopin used was 65, that allocated to the Cello Sonata in G ...